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Journal of Religion and Popular Culture Volume 8: Fall 2004 The Structural Characteristics of the Cinematic Christ-figure Anton Karl Kozlovic School of Humanities, The Flinders University of South Australia Abstract Christ-figures are built into many popular films, particular in the science fiction genre, but they are frequently ignored by critics, unappreciated by film fans, or resisted by anti- religionists. Conversely, believers sometimes want to see them where none credibly exist, thus religiously distorting their reading of the films. So, what can be legitimately called a cinematic Christ-figure? Previous calls for research into this area have been overlooked, but given the pervasiveness of Christ-figure films today, it is now opportune to address that scholarly deficiency. Using textually-based, humanist film criticism as the analytical lens, the critical literature is reviewed, the popular cinema scanned, and twenty-five structural characteristics of the Christ-figure are identified and explicated. Numerous examples are used to illustrate the genre points raised. It is concluded that the Christ-figure film is a legitimate pop culture phenomenon, and that as a living genre, its usage will be undiminished in the foreseeable future. Further research into Christ-figures, holy subtexts and the emerging interdisciplinary field of religion-and-film is recommended. Introduction [1] Barry McMillan (2002, 360) argued that the alien in many science fiction (SF) films can be viewed as "a 'transcendent' being—a benign entity who brings wisdom and knowledge, the imparting of which brings resolution, insight and the beginnings of personal or political harmony." As evidence, he cited The Day the Earth Stood Still, E.T.: The Extra-Terrestrial, Contact and K-Pax. However, their transcendent natures were not accidental Hollywood creations, rather, they were deliberately engineered as cinematic transfigurations of Jesus Christ (J.C.) and are best described as Christ-figures, but not Jesus-figures. As Peter Malone (1997a) explained concerning this essential ontological difference: "Jesus-figure" refers to any representation of Jesus himself. "Christ-figure" describes any figure in the arts who resembles Jesus. The personal name of Jesus (in line with contemporary spirituality, thought and practice) is used for the Jesus- figure. The title "Christ"—the "Messiah," or the "Anointed One"—is used for those who are seen to reflect his mission. In cinema, writers and directors present both Jesus-figures and Christ-figures (59-60). [2] By their very nature, Jesus-figures are easier to detect. Some famous examples include Max von Sydow in The Greatest Story Ever Told, Jeffrey Hunter in King of Kings, and Willem Dafoe in The Last Temptation of Christ (Kinnard and Davis, 1992; Stern, Jefford and DeBona, 1999; Tatum, 1997). No doubt, Jim Caviezel will be added to this honourable list because of The Passion of the Christ directed by Mel Gibson. Conversely, Christ-figures occur when: … Jesus is not portrayed directly but is represented symbolically or at times allegorically. Christ figures can be identified either by particular actions that link http://www.usask.ca/relst/jrpc/art8-cinematicchrist-print.html[29/09/2010 10:55:13 AM] Journal of Religion and Popular Culture them with Jesus, such as being crucified symbolically (Pleasantville, 1998), walking on water (The Truman Show, 1998) or wearing a cross (Nell, 1994; Babette's Feast, 1987). Indeed, any film that has redemption as a major theme (and this includes many, if not most, recent Hollywood movies) is liable to use some Jesus symbolism in connection with the redemptive hero figure (Reinhartz, 2003, 189). [3] Therefore, Barry McMillan's (2002, 360) transcendent beings, the alien Messiahs of science fiction are technically Christ-figures. Why? Because these commercial feature films do not try to copy popular conceptions of Jesus' biblical time, place or image. That is, they are not located approximately 2000 years ago in ancient Judaea. Nor do they star a protagonist who is male, tall, longhaired, blue-eyed, bearded, with WASP features, wearing sandals and a white toga looking like some 20th century hippie. Indeed, hippies frequently fashioned themselves after Jesus Christ to support their own political agendas (Stern and Stern, 1992, 212). [4] For many Christians, these pop culture representations of Jesus Christ are important holy subtexts (aka sacred subtexts, divine infranarrations) that have to be taken seriously precisely because of their sacred subject matter and undeniable cultural pervasiveness. Indeed, as Ernest L. Simmons (2003, 254) argued: "For many people today, especially the young, popular culture is culture, and theology, to remain true to its calling, must take such cultural expressions seriously." Somewhat ironically, given the traditional clash between "science" and "religion," the SF genre provided an unexpected home for religious storytelling. Especially following the decline of the 1950s rash of biblical epics triggered by Cecil B. DeMille's Samson and Delilah, a "watershed film" (Schatz, 1997, 394). As Hugh Ruppersburg (1987, 165) argued: "science fiction films of the 1970s and '80s serve the same function as the biblical epics of the 1950s and '60s." They still perform this function today, and no doubt, will continue to do so well into the post-millennial age. The only difference is that the religious agenda of these SF films is artfully hidden using holy subtexts. In Pursuit of Holy Subtexts [5] What exactly are holy subtexts? In essence, a filmic narrative can have a dual nature, namely, an overt plot plus a covert storyline of varying complexity that is comparable to the metaphorical or symbolic within literature. As Bernard Dick (1998, 129) described this relationship: "the narrative and infranarrative (or text and subtext) are not two separate entities (there is, after all, only one film); think of them, rather, as two concentric circles, the infranarrative being within the narrative." Put another way, a holy subtext is "anonymous religiousness" (Gallagher, 1997, 151), or better yet, the pursuit of "overtly religious themes in a secular 'wrapper'" (Ellis, 2001, 304). Through this narratological arrangement, secular films can engage in religious storytelling about biblical characters, ideas and themes without appearing "religious." In fact, innumerable Christ-figures and other holy subtexts are hidden within the popular cinema. It is a living genre whose engineering, re-discovery and scholarly criticism grows yearly (Deacy, 1999; Hurley, 1980; Kozloff, 1981; Kozlovic, 2000, 2001, 2002a, 2002b, 2003a, 2003b, 2003c, 2003d, 2004; Ruppersburg, 1987). Somewhat surprisingly, previous calls for research into the area have been overlooked (Brunstad, 2001; Hurley, 1980), but given their pervasiveness and increasing contemporary importance, it is opportune to address that scholarly deficiency now. Indeed, why do they exist at all? Christ-Figures, the Hero Cycle and Hollywood Scriptwriters [6] Neil P. Hurley (1980) had argued decades ago: I submit that there is a compelling mysterious force within the creative human http://www.usask.ca/relst/jrpc/art8-cinematicchrist-print.html[29/09/2010 10:55:13 AM] Journal of Religion and Popular Culture imagination which shapes fictional characters and dramatic plots in the image and likeness of the central personage and events of the four Gospels of Matthew, Mark, Luke and John (431). Yet, there is no need to evoke anonymous mysterious forces. Cinematic Christ-figures can exist for a variety of more mundane reasons. For example, in addition to making money, some filmmakers, as committed Christians, have employed the movies to advance their particular faith or Christian culture in general. They used the silver screen as a defacto evangelical tool while operating in a cinematic lay preacher mode. This is how the co-founder of Hollywood, Cecil B. DeMille (1881-1959), the master of the American biblical epic, partially viewed his role. As his biographer Charles Higham (1973) reported: Bessie Lasky … convinced me that DeMille, so far from being a cynic, was a devout believer in the Bible who saw himself in a missionary role, making the Scriptures attractive and fascinating to the masses in an age of increasing materialism and heathenism. A deeply committed Episcopalian, he literally accepted every word of the Bible without question … (ix-x). [7] However, the real genius of DeMille was that he also used (covert, subtextual) religion within (overt, textual) religion thoroughly to infuse his Bible films with a Christic resonance in support of Christendom. For example, he artistically re-constructed